year 7 curriculum support booklet 7-11/year 7... · a complex sentence is made up of two main...
TRANSCRIPT
Year 7 Curriculum Support
Booklet
Contents
1. English
2. Maths
3. Science
4. Art
5. Computing and ICT
6. Design & Technology
7. French
8. Humanities
9. PE
10. Performing Arts
This is a booklet designed to support you in your school studies. It is important you understand
how to use it.
Your teachers have collected together all of the interesting facts, key words, techniques, and
memory aides they think you need to know in their subject. There is a lot of helpful information
in these pages that you can use to help you understand and enjoy your subjects.
You can use this booklet in the following ways:
• To help you revise. This might be for a test, or it might be in your own time. It is
important to remind yourself of what you have learned, particularly if it was a tricky topic,
so that you can build on what you know. You remember more if you revise regularly (e.g.
during the holidays).
• To learn new information. You may come across words or ideas in this booklet that you
haven’t covered in your lessons. Don’t worry – this is an excellent opportunity to stretch
yourself and learn new things. You can always ask your teacher in your lessons to
explain a word or concept if you aren’t sure – or impress them with something you have
remembered.
• To help you with homework. You can look up key words or strategies to help you with
homework tasks. It is recommended that you keep this booklet at home: you will keep it
safe, and you can also ask someone to help test you. If you only complete homework at
school, it is best to keep it in your locker.
Your teachers want you to learn as much as possible, so it might seem at first that there is a lot
of information here. Do not worry: it is designed to help you, and learning from it is not an
impossible task. You could start by:
Looking at each section when you do that subject for homework.
Highlighting in different colours words you do and don’t know.
Choose 5-10 words or terms each weekend to memorise, in a subject you know you
need some support in.
Use the Look-Cover-Write-Check system to ensure you know things really well – and
keep testing yourself!
How to use this booklet
Look Cover
Write Check
ENGLISH - GRAMMAR
You need to be able to answer the question ‘What is…?’, or ‘Can you define…?’
1. …a noun …an adjective …a verb
A person, place or thing. Proper noun: A person, place or thing with a name that requires a capital letter e.g. Chris, East Anglia, Nimbus 3000. Abstract noun: An idea or emotion e.g. anger, inspiration, a plan. Concrete noun: A noun with a physical aspect e.g. chair, boy, rain. A describing word. e.g. blue, sunny, free. A ‘doing’ word. e.g. to go, to play, to like.
2. …an adverb
A word that describes a verb. e.g. quickly, carefully, practically.
3. …a pronoun
A word that can replace a noun. e.g. I, you, he, she, it, they, them, we
4. …a co-ordinating conjunction
A connective placed between clauses that are equally important: For, And, But, Or, Yet, So (FANBOYS).
5. …a subordinating conjunction
A connective that links clauses to suggest time, reason or condition: As, Because, Although, Though, Even Though, Whereas, If
6. …a preposition …of time: A word that indicates when something happens e.g. ‘During lesson one, the fire alarm rang.’ ..of place: A word that indicates where something happens e.g. ‘A fire broke out in Room 51.’
7. …the comparative
An adjective that shows comparison. e.g. better, stronger, worse.
8. …the superlative
An adjective that shows the highest degree of a quality. e.g. best, strongest, worst.
9 …the subject The person, place or thing that is carrying out an action or being something. e.g. ‘The boy shouted loudly.’
10 …the object The person, place or thing that is having an action done to it. e.g. ‘The boy shouted loudly into the megaphone.’
11 …a definite article
the 13 …the singular form
A noun that is just one thing. e.g. girl, memory
12 …an indefinite article
a 14 …the plural form
A noun that is more than one thing. e.g. girls, memories
ENGLISH - GRAMMAR
Tense
You need to be able to define, recognise and use:
17 The present tense The tense that describes what is happening now. I am
18 The past tense The tense that describes what happened in the past. I was
19 The future tense The tense that describes what will happen in the future. I will be
20 The conditional tense
The tense that describes what might happen. I would be / could be
Perspective
You need to be able to recognise the pronouns that describe these points of view:
21. 1st person
I 1st person (plural)
we
22. 2nd person
you 2nd person (plural)
you
23. 3rd person
he/she/it
3rd person (plural)
they
Homophones
You need to know the different spellings of these similar-sounding words: 24. There Indicating place.
25. Their Indicating possession or belonging.
26. They’re Contraction of ‘they are’.
27. Your Indicating possession or belonging.
28. You’re Contraction of ‘you are’.
29. Its Indicating possession or belonging.
30. It’s Contraction of’ it is’.
31. To A preposition.
32. Too Indicating addition or excess (e.g. too much).
33. Two A number.
How to parse a sentence (label its grammatical features):
We waited for our best friend, but she didn’t arrive.
Co-ordinating conjunction The pronoun ‘we’ means it’s the 1st personal plural
Verb Adjective
Sentence and clause types
15 …a simple sentence …a compound sentence …a complex sentence
A simple sentence is made up of one main clause. e.g. The cat sat on the mat.
A complex sentence is made up of two main clauses, joined by a conjunction. e.g. The cat sat on the mat and he purred quietly.
A complex sentence is made up of a main clause and at least one subordinate clause. e.g. The cat sat on the mat, eyeing the mouse in the corner, and purred quietly.
16 …a main clause …a subordinate clause
A main clause is a complete sentence that makes sense by itself. e.g. The shop closed at six o’clock.
A subordinate clause is an incomplete sentence that depends on a main clause to make sense. e.g. …having been open all day. /…after which everybody went home. /
ENGLISH - GRAMMAR
Punctuation
You need to be able to define, recognise and use:
34. Capital letter ATA Used after a full stop to begin a sentence. Used to indicate a proper noun (name, place, organisation).
35. Full stop . Used to mark the end of a sentence.
36. Exclamation mark
! Used at the end of an exclamatory sentence to show strong emotion. e.g. The rollercoaster was terrifying!
37. Question mark ? Used at the end of a question. e.g. Can’t you see my point?
38. Interrobang ?! Informally used to show disbelief. e.g. What?!
39. Semi-colon ; Used to join two related main clauses. e.g. Their shoes were muddy; their feet were painful.
40. Colon : Used before lists, or to introduce an idea. e.g. Picture this: you’re walking down the road…
41. Dash - Used to separate information from a main clause, or instead of brackets. e.g. They had to sit at the back – and they weren’t happy.
42. Comma , Used to separate subordinate clauses from main clauses. Used to separate items in a list.
43. Brackets ( ) Used to show an afterthought. e.g. Ben would always choose an action film (except when he had to babysit his sister).
44. Apostrophe ‘ A possessive apostrophe is used to show ownership. e.g. Joe‘s. A contraction apostrophe is used to merge two words into one e.g. they’re, it’s, don’t, here’s, you’ll. The apostrophe replaces the missing letter.
45. Ellipsis … Used to show a long pause or omitted (left out) words. e.g. I couldn’t believe it...
Spelling: The 30 most commonly misspelled words in English
46. accommodation 56. disappointed 66. persuade
47. beautiful 57. embarrass 67. queue
48. because 58. extremely 68. queueing
49. beginning 59. friend 69. quiet
50. believe 60. immediately 70. quiet
51. business 61. minute 71. receive
52. ceiling 62. necessary 72. separate
53. decided 63. neighbour 73. sincerely
54. definitely 64. nervous 74. surprised
55. disappear 65. opportunity 75. until
ENGLISH – READING SKILLS
Imagery (all fiction)
Simile When a writer compares one thing to another using the words ‘like’ or ‘as’. E.g. The snow was like a blanket.
Metaphor When a writer compares one thing to another by saying it is something else. E.g. Love is a rollercoaster.
Personification When a writer presents an object as having human emotions or feelings. E.g. The chair looked lonely.
Pathetic fallacy When the writer describes the weather as if it reflects the character’s thoughts or feelings. E.g. Rainy weather when a character feels sad.
Poetic devices (poetry)
Alliteration When a writer repeats the same sound at the start of several words. E.g. The wild winds whisk to the west.
Couplet When the end of two lines rhyme together. ‘For sweetest things turn sourest by their deeds; Lilies that fester smell far worse than weeds.’ (Shakespeare’s Sonnet 94)
Enjambment When the writer doesn’t use punctuation at the end of a line in poetry. (When the writer does use punctuation, it is called end-stopped.)
Onomatopoeia When the writer uses a word that sounds like an action that is being described. E.g. The car crashed through the window.
Rhyme When the writer repeats the sound of words at the start or ends of lines.
Rhythm When the writer uses syllables and the number of syllables in a word and line to create patterns.
Sibilance When the writer uses sounds such as sh and s, to create a hissing sound. E.g. Slow splashing shoots of water.
Dramatic devices (plays)
Dramatic irony When the audience knows something that a character on stage doesn’t. e.g. The audience knows there is a killer in the house, but the character doesn’t!
Soliloquy When a character, in a play, talks to the audience on stage. e.g. Romeo talks to himself about his feelings for Juliet.
Stage directions Extra information in italics that help the director and actors know what to do. e.g. Exit, pursued by a bear.
Narrative devices (novels, autobiographies)
Narrator The person telling the story. A 1st person narrator makes the story personal, as the narrator shares things with the reader. A 3rd person narrator keeps the story more distanced and neutral.
Plot The storyline Flashback When a character remembers something that happened in the past Chronological order When the story is arranged in the order in which it happened Setting Where the story is set Climax A moment of great tension or excitement in the story Protagonist A main character Antagonist A villain or ‘bad’ character Dialogue What the characters say. They usually use speech marks.
Dialogue is important as it tells us about a character e.g. their thoughts.. Description Visual details of the scene. It allows a reader to build an image of it in their mind.
Hint: These are examples of how an author uses structure in writing.
Hint: These are examples of how an author uses language in writing.
ENGLISH – READING SKILLS
Analysing writing using PEA
Follow this structure when analysing fiction and non-fiction:
How to improve your answer:
P Point Your answer to the question • Turn the question around. • Choose words that are clear and easy to
understand.
E Evidence A quote A summary of something that happens in the text.
• Quotes must be short (1-10 words) and relevant to the question.
• Use quote marks. • Pick out a one-word quote and explain why
this is a key word. • Use more than one quote to support your
point.
A Analysis Your ideas and interpretation • Explain your ‘point’ in further detail, using different words.
• Explain what you can infer from the quote. • Explain what the writer is trying to do. • Explain how the reader might feel. • Explain the effect of a language technique.
What A Good One Looks Like
Beginners’ PEA:
The writer shows that Fred is happy to see his dog. He uses the phrase ‘light as a feather’ to describe his mood. I can infer from this that Fred is delighted to have him back from the vets, because when you’re happy you feel like you’re floating, which is how a feather falls.
Point – clear statement of point, using the adjective ‘happy’ and the analysis verb ‘shows’. Evidence – short, relevant quote is embedded in the sentence. Analysis – it explains the inference with a similar adjective (‘delighted’), and it develops the explanation using the connective ‘because’.
Advanced PEA:
The writer intends to make the reader feel sympathy for the homeless. The adjectives ‘beaten’ and ‘broken’ describe people who have been living on the streets for a long time. The alliteration of these words emphasises the difficult conditions faced by homeless people. It is also an example of emotive language, and might make the reader feel guilty. As this is a charity leaflet, the writer aims to highlight these conditions and persuade the reader to become a volunteer. The language is powerful and thought-provoking, and as these words are at the beginning of the paragraph it draws the reader’s attention to them.
Point – explains the writer’s intentions, describing a precise emotion. Evidence – uses one-word quotes, and more than one example. Analysis - Uses analysis verbs such as ‘emphasises’, ‘highlights’, ‘persuades’ and ‘aims’; Explains the reader’s response and the writer’s intentions; Uses precise adjectives to describe the mood; Refers to language techniques (alliteration and emotive language) and a structural feature (at the beginning of the paragraph).
ENGLISH – READING SKILLS: FICTION & NON-FICTION
Adjectives for analysis Explaining the effect on the reader
How would you describe
the writing? The extract/quote is…
You need to be able to explain the effect a piece of writing has on a reader. Use this for analysis (‘A’ in PEA).
How does it make you feel?
The writer’s intention is to make the reader…
Explain the reader’s response The reader might...
frightening / alarming / creepy / intimidating / unsettling / gripping
scared Feel nervous Feel the tension Prepare themselves for the unexpected Be horrified or frightened
amusing / lighthearted laugh Be amused Be entertained Laugh / smile
satisfying / uplifting / cheerful happy Feel positive or optimistic
moving / emotional / touching sympathise/empathise with someone
Understand how the writer is feeling Be affected by the writer’s sadness
shocking / outrageous angry Clearly or strongly agree or disagree Be offended Want to take action Be left open-mouthed
powerful / thought-provoking
inspired or persuaded
Be convinced Think differently afterwards Be captivated / absorbed
remarkable / impressive / dramatic
interested Be struck by… Be left with the impression that…
Tone
You need to be able to identify a writer’s tone. This is the attitude of the writer towards a subject. It is created through deliberate word choices and putting these words in a certain order.
E.g. The effect
Formal There was a delay in the start of the project.
The writer will be taken more seriously. It is appropriate for formal communication.
Informal (Colloquial)
Well, I suppose you’re right. The writer achieves a more personal connection with the reader.
Humorous/lighthearted
Of course I disagreed with him – he’s my brother!
The writer entertains the reader.
ENGLISH – READING SKILLS: NON-FICTION
Understanding non-fiction
When you read a new piece of writing for the first time, you should consider:
G Genre What type of writing is this? • Newspaper article, magazine article, recipe, a leaflet, an instruction manual, a poster advertisement, a travel guide.
A Audience What type of person would read this?
• Are they young, old or middle-aged? • Are they male or female? • What are their interests? • How wealthy are they? • What are their life aims?
P Purpose Why did the author write this? • What is their opinion on the subject? • How do they hope the reader will react?
Verbs for analysis
Use these verbs to explain a writer’s purpose. You can use them in the P or A part of a PEA paragraph.
This shows that This suggests that This emphasises the idea that
This implies that
This creates a feeling that This creates a sense of
This conveys the idea that
The writer is arguing for/against
The writer is aiming to convince the reader that
The writer is explaining that
Connectives
You should use these connectives to link together ideas in analysis (PEA) or in persuasive writing.
In addition, However, Therefore, Finally, Similarly,
In particular,
whereas Indeed, Ultimately, Furthermore,
Evaluation
Evaluation means understanding why a piece of writing is effective. It is different to analysis, which means interpreting meaning in language and structure. Use T.I.E.S. to generate ideas.
T – Themes What are the ‘big’ ideas? E.g. Friendship, failure. I – Ideas What are the ‘small’ ideas? E.g. A stereotype of boys is that they like to drive cars. E – Events E.g. We know the car chase ends in disaster.
S – Setting E.g. A suburban town, late at night.
Sentence starters: • The writer successfully uses the
_[theme/idea/event/setting]__ of ________ to show the reader _____________
• For example, this is shown when he/ she writes ____
• It is effective because ____________ • It engages the reader because it makes us
think/ feel _____________
ENGLISH – READING & WRITING SKILLS: NON-FICTION
Language techniques: non-fiction
You need to be able to identify these language techniques in non-fiction texts, such as articles, leaflets and letters. You also need to be able to use them yourself when you are writing to persuade, inform or advise. Figurative language E.g. Why is it effective?
simile Life is like a game. You need to win it.
Figurative language allows the reader to visualise the argument more easily.
metaphor Our future is a weight around our necks.
personification The guilt will eat you up!
Rhetorical devices E.g. Why is it effective?
A - Alliteration Health, happiness and hope for all. It catches the reader’s eye and the listener’s ear.
(A – Anecdotes) One time, a friend of mine fell off his bike.
It makes the argument more realistic.
F - Facts You have to be in education until you are 18.
It makes the argument more convincing.
O - Opinions Personally, I believe in equal opportunities.
It makes the argument more personal
R – Rhetorical questions Why should we believe what we’re told?
It appeals directly to the reader or listener.
(R – Repetition) It’s a joke. It’s a joke and a lie. It catches the reader’s eye and the listener’s ear.
E – Exaggeration The entire planet knows it’s a bad idea.
It makes the argument seem more emotive, and therefore more important. It is clear the author is biased in favour of one opinion.
(E – Emotive language) Just think of all the families out there working hard.
S - Statistics 80% of students with poor attendance don’t succeed in later life.
It makes the argument more convincing.
T – Triplet/Rule of three
It is embarrassing, it’s rude, and it’s waste of time.
It catches the reader’s eye and the listener’s ear.
Vocabulary E.g. Why is it effective?
Dynamic verbs Scorned, pleaded, cheered. Vocabulary choices enhance your tone and purpose. Descriptive adjectives Luminous, broken, fragile.
Emotive adverbs Clearly, ultimately, naturally.
Advanced techniques E.g. Why is it effective?
Oxymoron A broken community. These convey complex ideas in a sophisticated way. Juxtaposition The best and yet the worst idea.
Direct address You need to wake up and listen! The personal pronoun ‘you’ makes the reader feel it is addressed to them.
Hypothetical situation If you were to… Put yourself in their shoes...
The reader can empathise more easily.
Superlatives The brightest and best. It exaggerates the argument.
ENGLISH – READING & WRITING SKILLS: NON-FICTION
Structural techniques: non-fiction
• ‘Structure’ refers to how writing is laid out; how ideas are developed; and other technical features. • You need to be able to identify these structural techniques in non-fiction texts, such as articles and letters. • You also need to be able to use them yourself when you are writing to persuade, inform or advise.
Structural technique E.g. Questions to ask yourself
Beginning Look around you. What do you see?
How does it make the text interesting or appealing?
Ending It needs to stop. Now. How does it leave the reader with a strong impression?
Punctuation A one-of-a-kind opportunity (except when everybody is doing it).
Is the punctuation varied, to create personality and a specific tone in the text?
Paragraph length
Long vs short • Long paragraphs absorb the reader in the detail.
• Short paragraphs are more powerful. They also allow it to be read quickly, if it is meant to be entertaining and not demand too much attention.
Sentence length
Long – several subordinate clauses Short – one or two words.
• Long sentences create a build-up of emotion. They increase the pace of the writing.
• Short sentences are punchy and dramatic.
Word order
Be not afraid (formal tone). Don’t be afraid (informal tone).
• Why is a certain word at the beginning of a sentence? Is it more important?
• Why is a certain word at the end of a sentence? Is the writer trying to focus attention on it by leaving it to the end, to create a bigger impact?
Speech/quotes
The experience was ‘one of a kind’, reported theatre-goers.
Quotes from experts or witnesses make persuasive or informative writing more convincing.
Perspective
1st person 2nd person 3rd person
Why has the writer used a certain perspective? • First person is more personal. • Second person is more direct. • Third person is more neutral.
Tense
Present, past, conditional Why has the writer used a certain tense? • Present tense is more immediate and
dramatic, and involves the reader in the action.
• Past tense can be more neutral. Things are being reported that aren’t happening now.
• The conditional tense is used to influence an opinion. It can be persuasive, by talking about what could or would happen.
ENGLISH – WRITING SKILLS: CREATIVE WRITING
20 ways to vary your sentences
1 Colons to introduce an important idea A strange hint of something filled his nostrils and made his stomach lurch: it was blood.
2 Adjectives at the start of the sentence Cold and hungry, Martin waited for someone to take pity on him.
3 Adjective -ed opening Wracked with fear, Tommy crept slowly towards the door. Scared for her life, Anna searched frantically for the key.
4 -ing clause before the main sentence Having no choice about it, Chris decided to agree with her.
5 Sentences with a semi-colon in the middle to connect two main clauses.
Spider-Man was in trouble; he was surrounded by his enemies.
6 The three verb sentence The monster pushed, crashed, smashed its way through.
7 Sentence, comma and list of verbs ending in –ing
The road unspooled on and on, rising, falling, rising, turning, falling.
8 Two -ings at the start sentence Raising a hand to my brow, shielding my eyes from the rain once more, I saw no monster.
9 Comma sandwich: a sentence with a subordinate clause in the middle
The sun, which had been absent for days, shone steadily in the sky.
10 Two similes sentence It’s hard to describe how I felt - like an object no longer of use, like a parcel packed up in string and brown paper.
11 The as if and three verb sentence It was as if the cold was pulling at Tansy, breaking her up, trying to take her away from them, back somewhere.
12 Start with a preposition (e.g. under, by, near, beneath, over)
Under the moon, the river snaked its way to the sea.
13 The less, less, less sentence
The less I tried, the less I cared, the less I got.
14 More, more sentence Every day, Kitty felt smaller, more ugly, more useless.
15 Three adjective ‘of’ sentence
I felt full, full of food, full of bad television, full of incessant chat.
16 Not, nor, nor sentences Nobody, not the postman, nor the housekeeper, nor Jim himself knew how the letter had got onto the doormat.
17 So so sentence There was one item, so small, so unrecognisable, it didn’t register.
18 The writer’s aside sentence
The computer, as you know, is quite slow. I think, to be honest, it will never work.
19 Whoever/ Whenever/ Whichever Whoever had been at the scene, whenever they had been there, it was clear something very sinister had taken place.
20 However after the first word sentence People, however, were watching gobsmacked
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tem
ent
of equalit
y b
etw
een t
wo e
xpre
ssio
ns o
f th
e f
irst
degre
e.
The v
alu
e o
f th
e v
ariable
in a
n e
quation is c
alle
d its
root.
Fo
rmu
lae
1.(
a+
b)²
=a
²+b
² +
2ab
2.
(a-b
)²=
a²+
b²
-2ab
3.(
a+
b+
c)²
=a²+
b²+
c²
+2ab+
2bc+
2ac
4.
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=a³+
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5.(
a-b
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+b
c
Sim
plify
ing
Alg
eb
raic
Exp
res
sio
ns:
To s
implif
y
alg
ebra
ic e
xpre
ssio
ns,
like t
erm
s c
an b
e c
olle
cte
d t
ogeth
er.
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e t
erm
s c
onta
in t
he s
am
e v
ariable
rais
ed t
o t
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am
e p
ow
er.
Ad
dit
ion
an
d S
ub
tracti
on
a+
a+
a
5a+
3a =
8a
4
b –
b
6b-b
=5b
can
be
sh
ort
en
ed
to
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a =
5a
can
be s
ho
rten
ed
5b-3
b=
2b
3a
to
3b
Mu
ltip
licati
on
When m
ultip
lyin
g (
like o
r unlik
e)
term
s,
the m
ultip
lication s
ym
bol is
rem
oved
a
x b
can b
e s
hort
ened a
b
y x
y x
y x
y
ca
n b
e s
hort
ened t
o y
4
3 x
a c
an b
e s
hort
ened 3
b
this
is the i
nd
ex (
pow
er)
. It
show
s
h
ow
many t
imes y
is m
ultip
lied b
y its
elf
Rem
em
be
r :
4y i
s n
ot
the
sam
e a
s y
4
4
y =
y+
y+
y+
y
Div
isio
n
a÷
b
15b
c
an
be
12b
can b
e
I
s w
ritt
en
3
b
sh
ort
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ed
to
5
3b
sh
ort
en
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to
4
A
s
a
b
ALG
EB
RA
ALG
EB
RA
NO
TATIO
N &
FU
NC
TIO
NS
ALG
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RA
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STA
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S
Year 7 factsheets: Science
Unit: Chapter Keyword Definition/fact
Working scientifically
Observation Carefully looking at an object or process.
Investigation An experiment or set of experiments designed to
produce data to answer a scientific question or test a theory.
Data Words or numbers that you obtain when you make
observations or measurements.
Independent variable
A variable you change that changes the dependent variable.
Dependant variable
A variable that changes when you change the independent variable.
Control variables
A variable that you have to keep the same in an investigation.
Accuracy Close to the true value of what you are measuring.
Precision This describes a set of repeat measurements that
are close together.
Repeatable When you repeat measurements in an investigation
and get similar results they are repeatable.
Reproducible When other people carry out an investigation and get similar results to the original investigation the
results are reproducible.
Risk assessment
A description of how you will make it less likely that people will be injured, or equipment damaged, and
what to do if this happens.
B1 1:1
Organism Living things.
Organisms are made up of cells, the basic building block of life.
Magnification
To make something appear larger than it is, so it can be seen more clearly or in greater detail. Total magnification = Eyepiece lens magnification X Objective lens magnification.
1:2
Nucleus The cell component that controls the cell and contains genetic material.
Mitochondria The site of respiration within a cell. Respiration is the reaction that transfers energy to the organism.
Cytoplasm A jelly like substance that holds all the cells organelles, the place where chemical reactions take place within the cell.
1:3
Cells have changed their shape and structure so that they are suited to carry out a particular job, these are called specialised cells.
Red blood cell An animal cell that transports oxygen around the body.
Plant cell Cells that make up a plant. Consists of a cell wall
and membrane, with a nucleus, a vacuole and chloroplasts as well as all other normal cell organelles such as mitochondria.
Chloroplasts The plant cell component where photosynthesis takes place.
1:4
Diffusion The movement of liquid or gas particles from a place of high concentration to a place of low concentration.
Concentration A measure of the number of particles of a substance in a given volume.
1:5 Unicellular organism
Consisting of just one cell.
2:1
Multicellular organism
An organism made up of many cells
Tissue A group of similar cells working together to perform a function
Organ A group of tissues working together to perform a function.
2:2 Gas exchange
The transfer of gases between an organism and its environment.
Respiratory system
The organs involved in gas exchange.
2:3 Contract
Diaphragm The sheet of muscle used in breathing.
2:4 Skeleton
Bones are made up of living tissue, supplied with a blood supply and together form the Skelton to support, protect, move and make blood cells
Bone marrow
2:5
Joint A part of the skeleton where two bones join together.
Ligament Joins two bones together.
Cartilage The strong, smooth tissue that covers the end of bones to prevent them rubbing together.
2:6
Muscle A tissue that has the ability to contract and relax to produce movement in the body.
Antagonistic A pair of muscles that work together to control movement at a joint – as one muscle contracts, the other relaxes.
Tendons Joins a muscle to a bone.
3:1
Adolescene involves both physical changes (puberty) and emotional changes. Puberty takes place roughly between the ages of 9 and 14.
All the changes that take place in the body during puberty are caused by hormones which are chemical messengers. Female sex hormones are produced in the ovaries. Male sax hormones are produced in the testes.
3:2 Male reproductive system consists of the testes which produce sperm and the male sex hormones,
the scrotum, sperm ducts, urethra which carries urine from the bladder or sperm from the sperm ducts out of the body and the penis which contains the urethra and swells with blood during an erection to release sperm during sexual intercourse.
Female reproductive system consists of the ovaries which contain the eggs, the oviducts which carry the eggs to the uterus, the uterus where a baby develops during pregnancy, the cervix a ring of muscle that keeps the baby in place during pregnancy, the vagina where the penis enters the female during intercourse and the urethra which carries urine from the bladder out of the body.
3:3
Gametes Reproductive cells. The male gamete is a sperm cell and the female gamete is an egg cell.
Fertilisation The process where the nucleus of a sperm cell joins with the nucleus of an egg cell.
Sexual intercourse
The process where the penis releases semen into the vagina.
3:4
Human gestation (pregnancy) lasts around 9 months (40 weeks), during this time the baby develops from the fertilised egg.
The baby develops inside the mother’s uterus where it can be supplied with all the nutrients and oxygen it needs to develop. These nutrients are supplied to the baby through blood carried in the umbilical cord which connects the mother at her placenta to the baby.
At around 40 weeks after fertilisation the baby is ready to be born. The mothers cervix relaxes and the wall of the uterus contracts. This helps to slowly push the baby out followed by the placenta, through the vagina.
3:5
Menstrual cycle
The monthly cycle during which the uterus lining thickens, and then breaks down and leaves the body if an egg is not fertilised.
Ovulation The release of an egg from an ovary.
Contraception A method of preventing pregnancy.
3:6
Pollination The physical changes that take place during adolescence.
The stamen is the male reproductive part of plant it consists of the antler that produces pollen (the male gamete) and the filament which hols up the anther.
The carpel is the female reproductive part of the plant it consists of the stigma which is sticky to catch the pollen, the style which holds up the stigma and the ovary which contains ovules (the female gamete).
3:7 The process of fertilisation of a plant begins when
pollen lands on the stigma. If the pollen is the correct species, the pollen grows a tube in the style which when reaching the ovule carries the nucleus of the pollen grain to the nucleus of the ovule, bringing about fertilisation. A seed is then formed.
A seed consists of a tough protective outer coat, an embryo that will develop into an adult plant and a food store of starch which helps the plant grow until it can photosynthesise.
Germination The period of time when a seed starts to grow.
3:8 Seed dispersal
The movement of seeds away from the parent plant.
There are four different methods of seed dispersal: wind, animal, water and explosive
C1 1:1
Particles The tiny things that materials are made from.
Mixtures A material whose properties are not the same all the way through.
Substance A material that is not a mixture. It has the same properties all the way through.
1:2
Solid In the solid state, a substance cannot be compressed and it cannot flow.
Liquid In the liquid state, a substance can flow but cannot be compressed.
Gas In the gas state, a substance can flow and can also be compressed.
1:3
Change of state
The process by which a substance changes from one state to another.
Melting The change of state from solid to liquid.
1:4 Boiling
The change of state from liquid to gas that occurs when bubbles of the substance in its gas state form throughout the liquid.
1:5
Evaporation The change of state from liquid to gas that occurs when particles leave the surface of the liquid only. It can happen at any temperature.
Condensation The change of state of a gas to a liquid.
Sublimation The change of state from solid to gas.
1:6 Diffusion
The movement of liquid or gas particles from a place of high concentration to a place of low concentration.
Factors that affect diffusion – Temperature, particle size, state of diffusing substance
1:7 Gas pressure
The measure of force exerted by particles of gas within a certain area. The pressure of gas is calculated by calculating the force generated per square metre.
2:1 Element A substance that cannot be broken down into other substances.
Periodic table A table of all the elements, in which elements with similar properties are grouped together.
Chemical symbol
A one- or two-letter code for an element that is used by scientists in all countries.
2:2 Atoms The smallest part of an element that can exist.
2:3 Compound A substance made up of atoms of two or more elements, strongly joined together.
2:4 Chemical Formulae
A formula that shows the relative number of atoms of each element in a compound.
3:1
Chemical reaction
A change in which atoms are rearranged to create new substances.
Reversible The ability of a reaction to turn the other way around, so that the products become the reactants. Chemical reactions are not easily reversible.
Catalyst A substance that increases the rate of the chemical reaction without being used up.
3:2
Word equations show the process of a reaction in a simplified way. The reactants (the things you start with) are shown on the left and the products (the things you end up with) are shown on the right. The arrow between the two sides means reacts to make.
Reactants A starting substance in a chemical reaction.
Products A substance that is made in a chemical reaction.
3:3
Fuel A material that burns to transfer useful energy.
Combustion A chemical reaction in which a substance reacts quickly with oxygen and gives out light and heat. (Oxidation reaction)
Fossil fuels are a non-renewable source of energy and their combustion in engines is damaging to the environment. Other alternatives that are not harmful to the environment need to be found. One possibility is using hydrogen as a fuel as the waste product of the combustion of hydrogen is water which is not damaging.
3:4 Decomposition A chemical reaction in which a compound breaks down to form simpler compounds and/or elements. (Thermal decomposition)
3:5
Conservation of mass
In a chemical reaction, the total mass of reactants is equal to the total mass of products. This is conservation of mass. Mass is conserved in chemical reactions and in physical changes.
Balanced symbol
equations
In a balanced symbol equation, chemical formulae represent the reactants and products. The equation shows how atoms are rearranged, and gives the relative amounts of reactants and products.
3:6 Exothermic
An exothermic change transfers energy to the surroundings.
Endothermic An endothermic change transfers energy from the
surroundings.
4:1
Acid An acid is a solution with a pH value less than 7.
Alkali An alkali is a soluble base.
Concentrated A solution is concentrated if it has a large number of solute particles per unit volume (litre or cubic metre).
Dilute A solution is dilute if it has a small number of solute particles per unit volume (litre or cubic metre).
4:2
pH scale
The pH scale shows whether a substance is acidic, alkaline, or neutral. An acid has a pH below 7. An alkaline solution has a pH above 7. A solution of pH 7 is neutral.
Indicator A substance that changes colour to show whether a solution is acidic or alkaline.
Acidic: Hydrochloric acid in stomach ~ pH 1 Lemon juice ~pH 2 Neutral: Water pH 7 Alkali: Bicarbonate of soda ~ pH 9 Drain cleaner ~pH 13
4:3 Neutralisation
In a neutralisation reaction, an acid cancels out a base or a base cancels out an acid.
Base A base is a substance that neutralises an acid.
4:4
Salt A salt is a compound in which the hydrogen atoms of an acid are replaced by atoms of a metal element.
Many salts exist naturally but they can be made through a few different types of reactions Acid + Metal Metal salt + Hydrogen Acid + Base Metal salt + Water
P1 1:1
Contact force (friction and air resistance)
Non-contact force
A magnetic, electrostatic, or gravitational force that acts between objects not in contact. (e.g. gravity)
Newton (N) The unit of force, symbol N.
1:2
Deform To change shape. (compress and stretch)
Reaction force The support force provided by a solid surface like a floor.
Tension A stretching force.
1:3 Friction
The force that resists movement because of contact between surfaces.
Drag forces The force acting on an object moving through air or water that causes it to slow down.
1:4
Magnetic force The force between two magnets, or a magnet and a magnetic material.
Electrostatic force
The force acting between two charged objects.
If you were to go in a space craft away for the earth, the further away you get, the gravitational
field gets weaker. This means that you would not be able to stay standing on the ground. The amount of ‘you’, your mass, stays the same it’s the gravitational force exerted on you that is less, affecting your weight.
1:5
Balanced forces
Forces acting on an object that are the same size but act in opposite directions.
Unbalanced forces
Forces acting on an object that are different sizes, acting in opposite directions. This leads to movement of an object in the direction of the strongest force.
Equilibrium Balanced.
2:1
Oscillation Something that moves backwards and forwards.
The key features of a wave include: the amplitude, which is the distance between the middle to the top or bottom of the wave; the frequency which is the number of waves that go past a point per second and wavelength which is the distance from one point on the wave to the same point on the next wave.
Transverse The vibrations are at right angles to the direction the wave moves.
Longitudinal A wave where the vibrations are in the same direction as the direction the wave moves.
2:2
Vibration Backwards and forwards motion of the parts of a liquid or solid.
Vacuum A space in which there is no matter.
Sound travels at 340 m/s in air, 1500 m/s in water and 5000 m/s in solids
2:3
Pitch A property of sound determined by its frequency.
Hertz The unit of frequency (Hz).
Ultrasound Sound at a frequency greater than 20 000 Hz, beyond the range of human hearing.
Infrasound Sound below a frequency of 20 Hz.
2:4
Amplify To increase the amplitude of a sound so that it sounds louder.
Decibel A commonly used unit of sound intensity or loudness (dB).
Your ear detects sound waves by directing the sound wave into the auditory canal to your eardrum, causing it to vibrate. These vibrations are eventually passed to the cochlea which sends an electrical message along the auditory nerve to the brain which allows us to hear.
2:5
Echo A reflection of a sound wave by an object.
Reverberation The persistence of a sound for a longer period than normal.
Bats use ultrasound to find their way around and to find their food. Ultra sound can also be used by
doctors to see unborn babies, used in physiotherapy and to look for some cancers. A special type of ultrasound used on ships is sonar, allowing boats to determine how close they are from the seabed.
3:1
Emit To give out.
Reflect Bounce off.
Absorb Taken into a material.
The speed of light is about 300 000 km/s. The distance that light from the sun travels in a minute is a light-minute. The distance that light from the sun travels in a year is a light-year. Astronomers use these units to measure distance in space.
3:2
Reflection When a ray hits and bounces off an object.
Incident ray The ray coming from a source of light.
Reflected ray The ray that is reflected from a surface.
3:3
Refraction The change in direction of a ray or wave as a result
of its change in speed.
Convex A lens that produces converging rays of light.
Light travels through different mediums at different speeds, this leads to refraction, as light travels through different mediums it appears to bend objects due to the difference in speed that the light is travelling.
3:4
When you look at an object, an image of that object is formed on the retina of your eye. Light reflected from the object enters your eye through the whole of the pupil. The image that is projected onto your retina is inverted; your brain turns the image the correct way around.
The retina is photosensitive, containing cells that respond to light. These photo receptor cells are called rods and cones. Rods are sensitive to movement in dim light. Cones are sensitive to bright light and colour.
3:5
Spectrum A band of colours produced when light is spread out by a prism.
Dispersion The splitting up of a ray of light of mixed wavelengths by refraction into its components.
Prisms can be used to split white light into a spectrum, this is known as dispersion.
4:1
Solar system The Sun and the planets and other bodies in orbit around it.
Orbit The path taken by one body in space around another.
Galaxy A number of stars and the solar systems around them grouped together.
4:2 There are a total of 8 planets that orbit the sun within our solar system. These are Mercury, Venus,
Earth, Mars, Jupiter, Saturn, Uranus and Neptune. There is also one dwarf planet within our solar system called Pluto.
4:3
Earth is the only planet that is known to contain life.
Day and night on the earth are results of the fact that the earth is constantly spinning on an axis. This means that at certain times, the face of the earth is facing the sun (day) and at other times it faces away from the sun (night).
Constellations A collection of stars that make a pattern in the sky.
4:4
Phases of the moon
Shape of the Moon as we see it from the Earth.
Solar eclipse An eclipse where the Moon comes between the Sun and the Earth.
Lunar eclipse An eclipse that happens when the Earth comes between the Sun and the Moon.
Art & Design Fact Sheet
1
Artwork by Henri Matisse
Pencil Sketch by David Hockney
Key Facts about the Colour Wheel
• Complementary colours are opposite each other on the colour wheel, they have a strong contrast.
• Harmonious colours are sections of colours that are next to each other on the colour wheel, these can be blended together.
• If you mix the primary colours together with the addition of white, you can create skin tones:
Examples of
Mark-Making:
Line, Stippling, Cross-hatch, dashes, stripes, scribble, squares, dots, zigzags…
Art & Design Fact Sheet
2
Drawing the Proportions of the face:
Gallery Websites are always useful to start selecting artists for your projects: https://www.nationalgallery.org.uk/ http://www.tate.org.uk/visit/tate-modern
http://www.npg.org.uk/
http://manchesterartgallery.org/
http://www.moma.org/
http://www.tate.org.uk/visit/tate-britain
http://www.britishmuseum.org/
Artwork by Frida Kahlo
Art & Design Fact Sheet
3
Basic Clay Equipment:
Key Tips for Using Clay:
• When joining two pieces of clay, always cross-hatch and apply slip to each piece.
• Never allow air bubbles in your clay, these will expand and crack your work when it goes in the kiln!
Metal Kidney
Wooden Rib
Sponge
Clay Wire
Double-ended small turning tool
Large turning tool
Potter’s Pin
Modelling Tool
Artwork by Kate Malone
Art & Design Fact Sheet
4
Drawing is an important criterion for the GCSE Art and Design course; practice your skills by using the following types of drawings:
1. Line Drawing 2. Continuous Drawing 3. Blind Drawing 4. Tonal Drawing 5. Mark-Making Drawing
Printmaking
Print by Angie Lewin
Roller Tile
Ink
Poly-block Printing
Mono-Printing
Mono-print by Rachel Hames
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r sto
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and
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ction
. S
eq
uen
ce, It
era
tio
n a
nd
Se
lection
are
th
e b
uild
ing
blo
cks o
f
alg
orith
ms. Y
ou c
ould
eve
n w
rite
an
alg
orith
m fo
r m
akin
g a
cu
p o
f te
a o
r m
akin
g th
e p
erf
ect m
ering
ue. R
em
em
ber
an a
lgo
rith
m is
so
me
thin
g th
at ca
n b
e f
ollo
we
d b
y h
um
ans a
nd
co
mp
ute
rs.
Co
mp
uti
ng
and
ICT –
Year
7
ICT
Fact
s. E
-Saf
ety.
Wh
at y
ou
ne
ed
to
kn
ow
ab
ou
t cy
be
r sa
fety
Vir
us
A
pro
gra
m d
esig
ned to c
ause o
ther
pro
gra
ms o
n a
com
pute
r to
malfunction o
r sto
p w
ork
ing a
ltogeth
er.
Tro
jan
A
pro
gra
m that appears
legitim
ate
but w
hic
h p
erf
orm
s s
om
e h
arm
ful activity w
hen it is
run
. It m
ay b
e u
sed to locate
passw
ord
info
rmation,
or
make
the s
yste
ms v
uln
era
ble
to f
utu
re e
ntr
y,
or
sim
ply
destr
oy p
rogra
ms o
r data
on the h
ard
dis
k d
rive.
A T
roja
n is s
imila
r to
a v
irus e
xcept
that
it d
oes n
ot
replic
ate
its
elf.
It s
tays
in t
he c
om
pute
r doin
g its
dam
age o
r allo
win
g s
om
ebod
y f
rom
a
rem
ote
site to take c
ontr
ol of th
e c
om
pute
r. T
roja
ns o
ften s
neak in a
ttached
to a
fre
e g
am
e.
Ph
ish
ing
A
form
of
Inte
rnet
fraud t
hat
aim
s t
o s
teal
valu
able
info
rmation
such a
s c
redit c
ard
deta
ils,
usern
am
es a
nd p
assw
ord
s.
The f
raudste
r w
ill
often s
end a
n e
pre
tendin
g t
o b
e s
om
eone
the
y a
re n
ot, a
nd t
ry t
o t
rick t
he c
usto
mer
into
giv
ing a
wa
y p
ers
onal
deta
ils,
oft
en b
ank
deta
ils.
Sp
yw
are
S
oft
ware
that can b
e insta
lled
on y
our
com
pute
r w
ithout
your
know
ledge,
whic
h c
olle
cts
info
rmation
about your
login
s a
nd
Passw
ord
s a
nd s
ends d
eta
ils t
o a
noth
er
com
pute
r on the Inte
rnet.
Hacker
Som
eone w
ho g
ain
s u
nauth
orized
access to a
com
pute
r in
ord
er
to o
bta
in d
ata
sto
red o
n it.
Hackers
can b
e teenagers
who a
re try
ing t
o p
rove that th
ey c
an b
reak in
to t
he m
ost secure
website s
erv
ers
.
Hackers
can a
lso b
e s
tate
-sponsore
d, aim
ing to g
ain
access to o
ther
sta
te’s
sensitiv
e d
ata
.
Fir
ew
all
A
syste
m d
esig
ned to p
revent unauth
orized a
ccess to y
our
com
pute
r w
hen c
onnecte
d to a
netw
ork
such a
s the Inte
rnet.
Fra
ud
T
rickin
g s
om
eone for
pers
onal gain
or
to d
am
age them
.
Ide
nti
ty t
he
ft
A c
rim
e that in
volv
es s
om
eone p
rete
ndin
g to b
e a
noth
er
pers
on in o
rder
to s
teal m
oney
or
obta
in o
ther
benefits
.
En
cry
pti
on
F
or
security
, data
is t
ransla
ted
into
a s
ecre
t code a
ccord
ing
to a
set
of
rule
s in a
specia
l ‘k
ey’. T
o c
onvert
the d
ata
back i
nto
pla
in t
ext, t
he
receiv
er
must als
o h
ave
the k
ey.
Co
pyri
gh
t G
ives the c
reato
r of an
origin
al w
ork
exclu
siv
e r
ights
regard
ing that w
ork
for
a c
ert
ain
period
of tim
e, in
clu
din
g its
public
ation,
dis
trib
ution a
nd a
dapta
tion
Co
pyri
gh
t,
Desig
ns a
nd
Pate
nts
Act
This
law
pro
tects
people
’s o
rigin
al w
ork
fro
m b
ein
g u
sed w
ithout
their p
erm
issio
n.
Co
mp
ute
r
Mis
us
e A
ct
Tis
law
restr
icts
people
fro
m a
ccessin
g o
r m
odifyin
g d
ata
without
perm
issio
n.
Data
Pro
tecti
on
Act
This
law
regula
tes h
ow
pers
onal in
form
ation is u
sed a
nd p
rote
cts
again
st
mis
use o
f pers
onal deta
ils.
On
lin
e
gro
om
ing
W
hen u
sers
on s
ocia
l netw
ork
ing s
ites w
ill p
rete
nd to b
e s
om
eone they’re n
ot
in o
rder
to m
ake friends w
ith a
younger
pers
on. T
his
can then lead to f
urt
her
serious h
arm
to the y
oung p
ers
on.
Cyb
er-
bu
llyin
g
when p
eople
use m
odern
technolo
gy,
for
exam
ple
their s
mart
phones a
nd c
om
pute
rs
to b
ully
anoth
er
pers
on
. T
his
can Inclu
de s
endin
g n
asty
text m
essages v
ia
sm
art
phones a
nd o
n s
ocia
l netw
ork
ing s
ites.
Top
Tip
s w
hen
so
cial
n
etw
ork
ing:
1
)K
eep
yo
ur
pro
file
pri
vate
an
d
no
t p
ub
lic.
2)
2)
Do
yo
u r
eally
wan
t a
stra
nge
r to
see
yo
ur
add
ress
? ke
ep t
hes
e d
etai
ls p
riva
te.
3)
3)
Mak
e su
re y
ou
kn
ow
wh
o
you
r o
nlin
e fr
ien
ds
are.
Usin
g P
EE
or
PE
A
giv
es y
ou t
he fra
mew
ork
to
expla
in c
oncepts
cle
arly –
Use
this
for
researc
h H
/W
Co
pin
g S
aw
Ste
el R
ule
En
gin
ee
rs S
qu
are
Pill
ar
Drill
Drill
Bit
File
Nu
me
rac
y i
n E
ng
inee
rin
g
Un
its o
f
me
asu
rem
ent
1m
m =
1cm
100
cm
= 1
m
100
0m
= 1
km
Lit
era
cy in
En
gin
ee
rin
g
Ge
ar
Ra
tios
Drive
syste
ms
Accu
racy
Sq
uare
Sm
ooth
/ R
oug
h
To
lera
nce
Sa
fety
PP
E
Ab
rafile
Fro
nt or
Rear
Wheel D
rive
Po
lyp
rop
yle
ne
Axle
Scre
wd
rive
r
Se
lf T
app
ing
Scre
ws
Ply
wood
YE
AR
7 T
EX
TIL
ES
TE
CH
NO
LO
GY
Ju
nky M
on
ste
r P
en
cil
Case
In
co
rpo
ratin
g:
E
lec
tr
on
ics
Nat
ura
l M
ater
ials
Wov
en &
Bon
ded
Fa
bri
cs
De
co
ra
tiv
e T
ec
hn
iqu
es
Co
ns
tr
uc
tio
n T
ec
hn
iqu
es
Emb
roid
ery
Ma
te
ria
ls
Fe
lt
De
nim
Ca
lico
&
Co
tto
n
To
ol
s &
Eq
uip
me
nt
Pin
kin
g
sh
ea
rs
Th
rea
d
Ne
ed
le
Pin
s
Fab
ric
Scis
so
rs
Bo
bb
in
Ca
se
Se
win
g
Ma
chin
e
Bobbin
Sp
oo
ls
Iro
n
Stitc
h
Un
pic
ke
r
Wo
rd B
an
k:
Emb
ellish
B
ond
aw
eb C
onst
ruct
Ha
nd
Em
bro
idery
Ma
teria
l B
utt
on
Re
cy
cle
M
achine S
eam
s
Su
sta
inab
ility
C
onductiv
e Thread
LEDs S
equi
ns
Ap
pliq
ué
Pen
cil
Case P
ocket R
unnin
g S
titc
h B
lank
et
Stit
ch B
ack s
titch
Wh
ippe
d S
titc
h
Se
qu
ins
Ma
chin
e
Em
bro
idery
Ru
nn
ing
Stitc
h
Ap
pliq
ué
Cro
ss
Stitc
h
The
Imp
ort
ance
of
NU
MER
AC
Y
The
stan
dar
d s
eam
allo
wan
ce is
15
mm
. U
sual
ly t
his
m
easu
rem
ent
is a
lrea
dy
add
ed o
nto
a d
ress
-mak
ing
pat
tern
bu
t o
ccas
ion
ally
yo
u m
ay h
ave
to a
dd
it y
ou
rsel
f.
Mai
nta
inin
g a
stan
dar
d s
eam
allo
wan
ce is
on
e o
f th
e m
ost
imp
ort
ant
way
s in
wh
ich
we
use
Qu
alit
y C
on
tro
l to
p
rod
uce
acc
ura
te a
nd
sym
met
rica
l pro
du
cts.
A
ll o
ur
sew
ing
mac
hin
es h
ave
mar
kin
gs o
n t
he
nee
dle
bed
to
hel
p y
ou
r ac
cura
cy in
mea
suri
ng
and
mai
nta
inin
g th
is
seam
wid
th.
Ele
ctr
onic
s:
Wa
nt
Lig
hts
on
yo
ur
Pe
nc
il
Cas
e?
Cre
ate
a C
ircu
it u
sin
g
LE
Ds
(L
igh
t E
mit
tin
g
Dio
de
s;
Co
nd
uc
tive
Th
rea
d;
Batt
ery
Ho
lde
rs a
nd
a
Batt
ery
!
Zip
Hyg
ien
e:
T
ie y
ou
r h
air b
ack
W
ash
yo
ur
ha
nds
W
ea
r a
n a
pro
n
Sa
fety
in
th
e K
itc
he
n:
• P
ut b
ag
s &
sto
ols
aw
ay
• T
ie a
pro
ns a
t th
e b
ack
• E
nsure
shoe laces a
re tie
d
• C
lear
up s
pill
ag
es im
me
dia
tely
• C
arr
y a
kn
ife
with
th
e b
lade
poin
ting
dow
nw
ard
s
Un
ders
tan
d
Fo
od
Safe
ty Kn
ife
Sk
ills
Key
Te
rms
Aest
heti
cs
Ton
e
Desi
gn B
rief
Pr
oduc
t A
naly
sis
S
peci
fica
tion
E
valu
atio
n
Ann
otat
e
Key Words Vinyl, Tensol cement, Acrylic, Flat file, Oxide paper, decoration, pop art, Onomatopoeia inspiration, Thermo Plastic
I researched into…
I have produced…
My design is suitable
for…
I have learnt how to…
design is based upon…
Materials
Acrylic Vinyl Clock Mechanism
Point Evidence Explain
P E A Point Evidence Analysis
Numeracy Angle Symmetry Geometric 1cm= 10 mm
SCALE: 1:1 = same size as actual item. 1:2 = 1/2 the size of the item. 1:3= 1/3 the size of the item. 1:4= 1/4 of the size of the item.
Tools and Equipment Scroll Saw Coping saw Vinyl Flat File Abra File Clock Mechanism Tensol Cement Wet and Dry Paper
Key Words Vinyl, Tensol cement, Acrylic, Flat file, Oxide paper, decoration, pop art, Onomatopoeia inspiration, Thermo Plastic
I researched into…
I have produced…
My design is suitable
for…
I have learnt how to…
design is based upon…
Materials
Acrylic Vinyl Clock Mechanism
Point Evidence Explain
P E A Point Evidence Analysis
Numeracy Angle Symmetry Geometric 1cm= 10 mm
SCALE: 1:1 = same size as actual item. 1:2 = 1/2 the size of the item. 1:3= 1/3 the size of the item. 1:4= 1/4 of the size of the
item.
Tools and Equipment Scroll Saw Coping saw Vinyl Flat File Abra File Clock Mechanism Tensol Cement Wet and Dry Paper
Cu
be
Pro
ject
- E
lect
ron
ics
FrenchGrammar section
NounsNouns refer to a person, place, thing or concept. They are listed in the dictionary together with their gender (masculine or feminine) – collège MASC (school) and maison FEM (house).
Hint! Whenever you learn a new noun, remember to learn the gender of this noun too: un frère – a brother une sœur – a sister
Remember: Make sure that your nouns, adjectives and verbs agree with each other! (See the adjectives section below)
AdjectivesAdjectives describe nouns and can refer to condition, colour, emotions etc. Remember to check your agreement – adjectives always agree with nouns in gender (masculine or feminine) and number (singular and plural) – for example: les chemises vertes.
QualifiersQualifiers explain or further describe adjectives or how an action (verb) occurs. They come before the adjective that they describe or after the verb that they describe. Eg:
très – very (with adjectives) beaucoup – a lot (with verbs) un peu – a bit assez – quite trop – too vraiment – really
VerbsVerbs are doing words and can be found in the dictionary in their infinitive form (e.g. habiter, vendre, finir). In French, they can end in three ways - –er, –re and –ir.
Hint! If you are expressing an opinion, the verb which follows is an infinitive e.g. j’aime jouer au foot.
To make a verb negative – just put ‘ne’ in front of the conjugated verb followed by ‘pas’. You can also add on the following words after the verb instead of using ‘pas’:
personne – nobody jamais – never rien – nothing ne...plus = not anymore
OpinionsIntroducing your opinions: À mon avis / Pour ma part / Selon moi – In my opinion…J’estime que – I consider that…Je pense que / Je crois que / Il me semble que / Il paraît que – I think / It seems that…Concernant / En ce qui concerne – Regarding…
Opinions you can express (followed by verb infinitives):
J’adore – I love J’aime beaucoup – I really like J’aime – I like Je n’aime pas du tout – I really don’t like Je déteste – I hate Je préfère – I prefer
Hint! To score a higher level, justify your opinions with parce que + c’est + adjective
ConnectivesConnectives (also known as conjunctions) can be divided into two main categories in French – words that we use to start new sentences and words that we use to join sentences:To start sentences: To join sentences:D’abord / Premièrement – Firstly et – and Deuxièmement – Secondly parce que / car – becauseNéanmoins – Nevertheless aussi – also or as wellPourtant / Cependant – However ansi – thusDe plus / En addition – Moreover ou ( ou bien) – or ( rather)Donc – Therefore mais – butD’une part – On one hand puis – thenPar contre – On the other hand après – afterwardsÉtant donné que – Given that avant – beforePuisque – Then / Since quand – whenPar conséquent – As a result avec – with
Time phrasesThese can be used to express when or how often you do a particular activity:1. Referring to the past: Hier – yesterday Hier soir – last night Le weekend dernier – last weekend La semaine dernière – ast week Le mois dernier – ast month L’année dernière – last year Il y a deux / trois jours / semaines / mois – Two / three days / weeks / months ago2. Referring to the present: Tous les jours – every day Les weekends – at weekends Chaque … – every … Une fois / deux fois par – once / twice a …3. Referring to the future: Demain – tomorrow Après-demain – the day after tomorrow La semaine prochaine – next week Pendant les vacances – in the holidays L’année prochaine – next year4. Referring to frequency: Toujours / tout le temps – always Normalement – normally Généralment – generally Regulièrement – regularly Souvent – often
Hint! You need to include your time phrases next to the verb you’re using –
before or after!
The Near Future TenseThe near future tense is used to say something that you are going to do. You should use a future time phrase with this tense.
To form the future tense: 1. Take the present tense of the verb ‘aller’ 2. Add the infinitive allerI am going je vaisyou (s) are going tu vashe/she is going il /elle vawe are going nous allonsyou (pl) are going vous allezthey are going ils/elles vont
Word Definitionaccent mark/sign on a letter to change the sound that it makes
adjective a word that describes a noun
adverb used to give additional information about verbs or adjectives (see qualifier; time phrase)
agreement when nouns, adjectives and verbs match each other in number and in gender
cognate a word/part of word that looks, sounds and means the same (or similar) in two languages
conjugation (conjugate) when a verb infinitive is written in its six different parts (see subject; verb; infinitive)
connective words used to link sentences to each other
feminine one option for gender
gender either masculine or feminine (and also neuter in German)
infinitive basic verb form meaning ‘to do’ an action, identified by its ending and found in a dictionary (see verb)
masculine one option for gender
noun a person, place or thing (including a concept)
number the quantity of a noun present
plural when there is more than one of a noun present
qualifieradverbs used to give more information about adjectives e.g. ‘very’
(see adverb)
singular when there is only one of a noun present
subject person (referring to the six parts of the verb conjugation) doing the action
tense the time when a verb takes place – past, present or future
time phrase an adverb which refers specifically to time
verb an action or ‘doing word’ (see infinitive; conjugation)
Examples:1) I am going to play football Je vais jouer au foot.
2) We are going to watch TV Nous allons regarder la télé.
Glossary of Linguistic Terms Used in MFL Lessons
Les mots essentiels High-frequency words
assez quite
aussi also
car because
comme as
et and
mais but
très very
un peu a bit
parce que because
par exemple for example
surtout above all
à quelle heure? at what time?
quand? when?
combien? how much/how many?
combien de temps? how long?
comment? how?
où? where?
qui? who?
avec qui? who with?
Expressions de temps Time sequencers
d’habitude usually
de temps en temps from time to time
en ce moment at the moment
quelquefois sometimes
souvent often
tous les jours every day
une ou deux fois par mois once or twice a month
Conjonctions Connectivesaprès (le dîner) after (dinner)
avant (de me coucher) before (I go to bed)
d’abord first
ensuite next
puis then
un peu plus tard a bit later
High-frequency vocabulary
Les opinions Opinions
à mon avis, c’est … in my opinion, it’s …
je pense que c’est … I think it’s …
je trouve ça … I find it …
amusant funny
assez bien quite good
barbant boring
chouette excellent
effrayant frightening
émouvant moving
ennuyeux boring
génial great
intéressant interesting
nul rubbish
passionnant exciting
pratique practical
stupide stupid
formidable great
idiot stupid
Les prépositions Prepositions
dans/devant in/in front of
derrière behind
entre between
sous under(neath)
sur on
à côté de next to
à droite de/à gauche de on the right of/on the left of
en face de opposite
High-frequency vocabulary
Ge
ogr
aph
y: K
ey D
efin
itio
ns
Hu
man
Geo
grap
hy
Hu
man
geo
grap
hy
is t
he
bra
nch
of
Geo
grap
hy
that
dea
ls w
ith
th
e st
ud
y o
f p
eop
le
and
th
eir
com
mu
nit
ies,
cu
ltu
res,
eco
no
mie
s an
d in
tera
ctio
n w
ith
th
e en
viro
nm
ent.
Ph
ysic
al G
eogr
aph
y P
hys
ical
geo
grap
hy
is t
hat
bra
nch
of
Geo
grap
hy
wh
ich
dea
ls w
ith
th
e st
ud
y o
f p
roce
sses
an
d p
atte
rns
in t
he natural e
nvi
ron
men
t lik
e th
e at
mo
sph
ere,
oce
ans,
ec
osy
stem
s.
Lon
g- t
erm
O
ccu
rrin
g/
Last
ing
for
a lo
ng
per
iod
of
tim
e.
Sho
rt-
term
O
ccu
rrin
g/
Last
ing
for
sho
rt p
erio
d o
f ti
me.
Eco
no
mic
R
elat
es t
o t
he
eco
no
my:
bu
sin
ess,
job
s, f
inan
ce.
Envi
ron
men
tal
Rel
ates
to
th
e n
atu
ral w
orl
d a
nd
th
e ge
ner
al e
nvi
ron
men
t: a
nim
als,
pla
nts
etc
.
Soci
al
Rel
ates
to
peo
ple
: rel
atio
nsh
ips
and
eve
ryd
ay li
fe.
Imp
acts
A
n e
ffec
t/ in
flu
ence
/ co
nse
qu
ence
Res
po
nse
s A
rea
ctio
n t
o s
om
eth
ing
that
has
hap
pen
ed.
Ge
ogr
aph
y: M
ap S
kills
Map
s ar
e 2
-D d
raw
ings
of
ou
r w
orl
d f
rom
ab
ove
or
a ‘b
ird
’s e
ye v
iew
’.
They
hel
p u
s fi
nd
ou
r w
ay a
rou
nd
an
d s
ho
w
wh
ere
dif
fere
nt
pla
ces
are
in r
elat
ion
to
eac
h
oth
er (
dis
tan
ce a
nd
dir
ect
ion
).
Map
s ca
n s
ho
w s
mal
l or
larg
e ar
eas:
fro
m
roo
m p
lan
s to
wo
rld
map
s.
Ge
ogr
aph
y: M
ap S
kills
Bri
tish
Isle
s: T
his
ter
m r
efer
s to
th
e is
lan
ds
of
Gre
at B
rita
in a
nd
Ir
elan
d –
incl
ud
ing
the
Rep
ub
lic
of
Irel
and
– a
nd
th
e 5
00
0 o
r so
sm
alle
r is
lan
ds
scat
tere
d a
rou
nd
o
ur
coas
ts, s
uch
as
the
Ch
ann
el
Isle
s an
d Is
le o
f M
an
Gre
at B
rita
in: T
his
is t
he
off
icia
l co
llect
ive
nam
e o
f En
glan
d, S
cotl
and
an
d W
ale
s an
d t
he
ir a
sso
ciat
ed
isla
nd
s.
It d
oes
no
t in
clu
de
No
rth
ern
Ir
elan
d
The
Un
ited
K
ingd
om
in
clu
des
En
glan
d,
No
rth
ern
Ir
elan
d, S
cotl
and
an
d W
ales
.
Ge
ogr
aph
y: M
ap S
kills
Maj
or
citi
es o
f th
e B
riti
sh Is
les.
Reg
ion
s o
f th
e U
nit
ed
Kin
gdo
m.
The
maj
or
rive
rs
of
the
Bri
tish
Is
les.
HIS
TOR
Y –
Ye
ar 7
Tem
pla
te f
or
an in
fere
nce
qu
est
ion
Fro
m t
he
sou
rce
I ca
n in
fer
tha
t ..
... [
inse
rt w
ha
t yo
u c
an
tel
l fro
m t
he
sou
rce]
D
eta
ils f
rom
th
e so
urc
e th
at
tell
me
this
are
....
....
[ in
sert
evi
den
ce f
rom
th
e so
urc
e]
Tem
pla
te f
or
an e
xpla
nat
ion
qu
esti
on
Key
wo
rds:
So
urc
e –
a p
iece
of
evid
ence
. A
D-
stan
ds
for
An
no
Do
min
i wh
ich
mea
ns
‘in t
he
year
of
the
Lord
’. It
is u
sed
fo
r th
e d
ates
aft
er t
he
bir
th o
f C
hri
st
Feu
dal
sys
tem
- a
syst
em o
f d
ivid
ing
up
th
e la
nd
; m
en r
ecei
ved
lan
d in
ret
urn
fo
r o
ffer
ing
to f
igh
t fo
r th
eir
lord
or
kin
g.
His
tory
– Y
ear
7
1.
Wh
y b
uild
cas
tles
? Th
ey h
elp
ed t
o c
on
tro
l En
glan
d. T
he
cas
tles
wer
e re
qu
ired
so
th
at t
he
No
rman
s co
uld
rem
ain
saf
e an
d in
co
ntr
ol.
Maj
or
cast
les
wer
e b
uilt
in o
r n
ear
larg
e ce
ntr
es o
f p
op
ula
tio
n. O
n t
he
edge
of
Lon
do
n W
illia
m t
he
Co
nq
uer
or
had
a m
assi
ve s
qu
are
kee
p c
on
stru
cted
as
a re
min
der
to
th
e Lo
nd
on
ers
that
he
was
th
eir
kin
g.
No
rman
s: H
ow
did
Will
iam
th
e
Co
nq
uer
or
con
tro
l En
glan
d?
2. T
he
Fe
ud
al S
yste
m -
sh
arin
g la
nd
fo
r m
on
ey
and
po
we
r
3. T
he
Do
me
sday
Bo
ok:
Alo
ng
wit
h a
str
ing
of
cast
les
thro
ugh
ou
t En
glan
d, t
he
Do
mes
day
Bo
ok
was
to
giv
e W
illia
m h
uge
au
tho
rity
in E
ngl
and
. To
fu
rth
er e
xten
d h
is g
rip
on
En
glan
d, W
illia
m I
ord
ered
th
at a
bo
ok
be
mad
e co
nta
inin
g in
form
atio
n o
n w
ho
ow
ned
wh
at t
hro
ugh
ou
t th
e co
un
try.
Th
is b
oo
k w
ou
ld a
lso
tel
l him
wh
o o
wed
him
wh
at in
tax
an
d b
ecau
se t
he
info
rmat
ion
was
on
re
cord
, no
bo
dy
cou
ld d
isp
ute
or
argu
e ag
ain
st a
tax
dem
and
.
He
nry
VII
I bro
ke a
way
fro
m t
he
Cat
ho
lic C
hu
rch
in R
om
e a
nd
cl
ose
d t
he
mo
nas
teri
es.
•He
split
aw
ay f
rom
Ro
me
bec
ause
he
wan
ted
to
div
orc
e C
ath
erin
e o
f A
rago
n a
nd
mar
ry A
nn
e B
ole
yn. H
e w
as in
des
per
ate
nee
d o
f a
son
to
be
his
mal
e h
eir
(fu
ture
Kin
g)
•Th
e A
ct o
f Su
pre
mac
y m
ade
him
hea
d o
f th
e C
hu
rch
in E
ngl
and
. Th
is g
ave
him
mo
re p
ow
er
ove
r En
glan
d.
•Hen
ry’s
mai
n a
dvi
sers
wer
e P
rote
sta
nts
(aga
inst
Cat
ho
lics
and
th
e Po
pe)
•H
e cl
ose
d t
he
mo
nas
teri
es t
o g
et t
hei
r w
eal
th t
o f
igh
t h
is
exp
ensi
ve w
ars
in E
uro
pe.
Mo
nas
teri
es w
ere
very
ric
h a
nd
st
ron
gly
linke
d w
ith
th
e C
ath
olic
Ch
urc
h.
Tud
ors
: Wh
y d
id H
en
ry V
III b
reak
aw
ay f
rom
th
e C
ath
olic
Ch
urc
h?
The
No
rman
s an
d t
he
Tu
do
rs –
so
me
key
qu
est
ion
s an
d in
form
atio
n
Maj
or
Wo
rld
re
ligio
ns
and
sym
bo
ls
Hin
du
ism
Judais
m
Buddhis
m C
hristianity
Isla
m
Re
ligio
us
Stu
die
s: K
ey D
efin
itio
ns
Ch
rist
ian
ity
the
relig
ion
bas
ed o
n t
he
per
son
an
d
teac
hin
gs o
f Je
sus
Ch
rist
, or
its
bel
iefs
an
d p
ract
ices
.
Isla
m
The
nam
e o
f th
e re
ligio
n f
ollo
wed
by
Mu
slim
s; t
o s
urr
end
er t
o t
he
will
of
Go
d; p
eace
.
Bu
dd
his
m
A w
ides
pre
ad A
sian
rel
igio
n o
r p
hilo
sop
hy,
fo
un
ded
by
Sid
dh
arth
a G
auta
ma
in N
E In
dia
in t
he
5th
cen
tury
B
C.
Hin
du
ism
A m
ajo
r re
ligio
us
and
cu
ltu
ral t
rad
itio
n
of
Sou
th A
sia,
wh
ich
dev
elo
ped
fro
m
Ved
ic r
elig
ion
. Th
e G
od
of
Hin
du
ism
is
Bra
hm
an.
Jud
aism
the
mo
no
thei
stic
rel
igio
n o
f th
e Je
ws,
. Th
e fo
un
dat
ion
of
thei
r b
elie
fs d
eriv
e fr
om
th
e O
ld T
esta
men
t an
d in
th
e te
ach
ings
an
d c
om
men
tari
es o
f th
e ra
bb
is a
s fo
un
d c
hie
fly
in t
he
Talm
ud
.
C
hri
stia
nit
y Is
lam
Follo
we
rs C
alle
d
Ch
rist
ian
s M
usl
ims
Nam
e M
ean
s fo
llow
ers
of
Ch
rist
(G
reek
christos,
M
essi
ah)
Ara
bic
, "su
bm
issi
on
"
Dat
e F
ou
nd
ed
c. 3
0 C
E 6
22
CE
Pla
ce F
ou
nd
ed
Pal
esti
ne
Ara
bia
n P
en
insu
la
Ori
gin
al L
angu
ages
A
ram
aic
and
Gre
ek
Ara
bic
Fou
nd
ers
& E
arly
Le
ader
s Je
sus,
Pet
er, P
aul
Mu
ham
mad
COMPONENT OF
FITNESS
DEFINITION
Muscular Endurance When one or more muscles contract repeatedly when lifting
or moving, for a certain length of time.
Body Composition The amount of body fat compared to muscle in the body.
Muscular Strength When the body has to exert a force against resistance.
Speed How fast the body can move from A to B or perform an
action until it’s complete.
Flexibility The amount/range of movement around a joint.
Reaction Time The time it takes for the body to respond to a stimulus.
Coordination When a sequence of movements are performed smoothly and
accurately together.
Power The rate at which work is performed often strength x speed
= this
Balance The ability to maintain your centre of gravity when standing
still or moving.
Agility Being able to change direction whilst keeping the body under
control.
Anaerobic When the body is working at a level that demands the need
for more oxygen.
P.E.
Fitness tests Example
Strength Hand Grip Dynamometer test
Speed 30 metre sprint test
Aerobic endurance 20 metre multi-stage fitness test
Flexibility Sit and reach test
Agility Illinois Agility Test
Balance The Standing Stork test
Reaction time Ruler test
SMART goal setting
This is used widely in sport, work and leisure to help make people’s goals easier
to achieve.
S - Specific means knowing exactly what the goal is.
M - Measurable means that it will be easy to know when a goal has been
achieved.
A - Achievable. Running an extra 100m in the Cooper’s run test after six weeks’
training may well be achievable, however, running a marathon after four weeks
of running 2 miles probably will not.
R - Realistic. A goal may well be achievable in theory, but if it is to be
achievable in practice it is necessary to have the time and resources to complete
it.
T - Time-bound. Does the goal have an end point? If not, it is easy to put off
achieving it indefinitely.
Year
7 –
Per
form
ing
Art
s
Year
7 -
Mu
sic
The
Elem
ents
of
Mu
sic
Pit
ch
Hig
h o
r lo
w n
ote
s.
Dyn
amic
s Th
e vo
lum
e o
f m
usi
c.
Tem
po
Th
e sp
eed
of
mu
sic.
Rh
yth
m
A p
atte
rn m
ade
up
of
dif
fere
nt
no
te le
ngt
hs.
Pu
lse
A
reg
ula
r b
eat.
Tim
bre
Th
e q
ual
ity
or
char
acte
r o
f an
inst
rum
ent’
s so
un
d.
Mo
od
Th
e fe
elin
g th
at m
usi
c ev
oke
s.
Stru
ctu
re
The
way
in w
hic
h m
usi
c is
org
anis
ed.
Key
bo
ard
Ski
lls
Tern
ary
form
M
usi
c o
rgan
ised
usi
ng
an A
BA
str
uct
ure
.
Har
psi
cho
rd
Key
bo
ard
inst
rum
ent
fro
m t
he
Bar
oq
ue
era.
12
3,1
23
45
O
rder
of
fin
gers
fo
r ri
ght
han
d s
cale
on
th
e ke
ybo
ard
.
Me
lod
y A
tu
ne/
pat
tern
of
sin
gle
no
tes.
Ch
ord
Tw
o o
r m
ore
no
tes
pla
yed
at
the
sam
e ti
me.
Tria
d
A t
hre
e n
ote
ch
ord
.
Exte
nd
ed
ch
ord
A
tri
ad w
ith
ad
dit
ion
al n
ote
s (o
ften
7th
an
d 9
th n
ote
s).
Inst
rum
ents
of
the
Orc
hes
tra
Stri
ng
Vio
lin, v
iola
, cel
lo, b
ass,
har
p.
Bra
ss
Tru
mp
et, F
ren
ch h
orn
, tro
mb
on
e, t
ub
a.
Wo
od
win
d
Flu
te, p
icco
lo, c
lari
net
, ob
oe,
bas
soo
n, s
axo
ph
on
e.
Per
cuss
ion
Ti
mp
ani,
snar
e, d
rum
-kit
, cym
bal
s, b
ass
dru
m.
Year
7 –
Per
form
ing
Art
s
Year
7 -
Mu
sic
Afr
ican
Mu
sic
Ora
l tra
dit
ion
A
tra
dit
ion
pas
sed
do
wn
th
rou
gh g
ener
atio
ns
by
wo
rd o
f m
ou
th.
Cal
l &
resp
on
se
Solo
ist
follo
wed
by
a gr
ou
p o
f m
usi
cian
s p
layi
ng/
sin
gin
g a
fixe
d r
esp
on
se.
Mas
ter
Dru
mm
er
The
lead
er o
f an
Afr
ica
dru
mm
ing
ense
mb
le.
Ense
mb
le
A g
rou
p o
f m
usi
cian
s p
layi
ng
toge
ther
.
Po
lyrh
yth
m
Mo
re t
han
on
e d
iffe
ren
t rh
yth
m p
laye
d a
t th
e sa
me
tim
e.
Slap
, to
ne
&
bas
s Th
ree
mai
n h
and
tec
hn
iqu
es f
or
dje
mb
e d
rum
min
g.
Text
ure
Th
e w
ay in
wh
ich
mu
sica
l par
ts a
re ‘l
ayer
ed’.
Mo
no
ph
on
ic
On
e si
ngl
e la
yer
of
mu
sic.
Ho
mo
ph
on
ic
Mel
od
y ac
com
pan
ied
by
cho
rds
or
par
ts m
ovi
ng
in h
arm
on
y.
Po
lyp
ho
nic
Tw
o o
r m
ore
dif
fere
nt
mu
sica
l lin
es p
erfo
rmed
at
the
sam
e ti
me.
Folk
Mu
sic
Folk
Mu
sic
A ‘c
om
mu
nit
y’ f
ocu
sed
sty
le o
f m
usi
c. E
very
co
un
try
and
cu
ltu
re h
as it
’s o
wn
kin
d o
f fo
lk m
usi
c.
Ora
l tra
dit
ion
A
tra
dit
ion
pas
sed
do
wn
th
rou
gh g
ener
atio
ns
by
wo
rd o
f m
ou
th.
Pe
nta
ton
ic
scal
e
A f
ive
no
te s
cale
. Fo
lk m
elo
die
s ar
e o
ften
bas
ed o
n
pen
tato
nic
sca
les.
Bri
tish
Isl
es
The
Bri
tish
Isle
s ar
e a
gro
up
of
isla
nd
s th
at c
on
sist
of
Gre
at B
rita
in, I
rela
nd
an
d o
ver
six
tho
usa
nd
sm
alle
r is
les.
Sim
ple
tim
e
Tim
e si
gnat
ure
s/m
etre
th
at u
se c
rotc
het
bea
ts (
e.g.
4/4
an
d
3/4
). T
hes
e ti
me
sign
atu
res
usu
ally
hav
e a
‘4’ a
s th
e b
ott
om
n
um
ber
.
Co
mp
ou
nd
ti
me
Ti
me
sign
atu
res/
met
re t
hat
use
qu
aver
bea
ts (
e.g.
6/8
an
d
12
/8).
Th
ese
tim
e si
gnat
ure
s u
sual
ly h
ave
an ‘8
’ as
the
bo
tto
m n
um
ber
.
Har
mo
ny
Mo
re t
han
on
e d
iffe
ren
t n
ote
pla
yin
g at
th
e sa
me
tim
e.
Imp
ress
ion
ism
Imp
ress
ion
ist
mu
sic
An
exp
ress
ive
styl
e o
f m
usi
c th
at c
ame
abo
ut
in t
he
19
/20
th
Cen
turi
es.
Imp
ress
ion
ist
mu
sic
evo
kes
emo
tio
ns
and
m
oo
ds
and
so
met
imes
use
s ar
t as
a s
tim
ulu
s.
Ton
alit
y Th
e ke
y o
f a
pie
ce o
f m
usi
c (m
ajo
r/m
ino
r/at
on
al).
5/4
tim
e
sign
atu
re
A t
ime
sign
atu
re w
her
eby
each
bar
sh
ou
ld a
dd
up
to
fiv
e cr
otc
het
bea
ts p
er b
ar.
Shar
p
Rai
sin
g a
no
te b
y a
sem
ito
ne
(#).
Flat
Lo
wer
ing
a n
ote
by
a se
mit
on
e (b
).
Year
8 –
Per
form
ing
Art
s
Year
7 -
Dra
ma
Dra
ma
skill
s, t
ech
niq
ues
an
d t
hem
es (
T1-4
)
Faci
al e
xpre
ssio
n
Usi
ng
you
r fa
ce t
o c
om
mu
nic
ate
mea
nin
g to
yo
ur
aud
ien
ce
(e.g
.. r
aisi
ng
you
r ey
ebro
ws
to s
ho
w s
urp
rise
).
Bo
dy
lan
guag
e
Usi
ng
you
r b
od
y to
co
mm
un
icat
e m
ean
ing
to y
ou
r au
die
nce
(e.
g.. S
hru
ggin
g yo
ur
sho
uld
ers
to s
ho
w t
hat
yo
ur
char
acte
r is
un
sure
ab
ou
t so
met
hin
g).
Vo
ice
U
sin
g yo
ur
voic
e to
co
mm
un
icat
e m
ean
ing
to y
ou
r au
die
nce
.
Mo
vem
en
t U
sin
g m
ove
men
t to
co
mm
un
icat
e m
ean
ing
to y
ou
r au
die
nce
(e.
g. m
ovi
ng
slo
wly
, wit
h c
on
fid
ence
an
d w
ith
an
u
pri
ght
po
stu
re t
o s
ho
w c
lear
ly t
hat
yo
ur
char
acte
r is
a
con
fid
ent
Kin
g).
Ge
stu
re
Usi
ng
gest
ure
to
en
sure
th
at y
ou
r ch
arac
ter
is c
lear
ly
def
ined
an
d t
o e
nsu
re t
he
aud
ien
ce k
no
ws
wh
at y
ou
r ch
arac
ter
mea
ns
(e.g
. usi
ng
a ‘t
hu
mb
s u
p’ t
o s
ho
w t
hat
yo
ur
char
acte
r ag
rees
wit
h a
no
ther
).
Pit
ch
Ch
angi
ng
the
pit
ch (
hig
h o
r lo
w)
of
you
r vo
ice
to
com
mu
nic
ate
mea
nin
g (e
.g. u
sin
g a
hig
h p
itch
to
ind
icat
e th
at y
ou
r ch
arac
ter
is s
care
d o
r a
low
vo
ice
to s
ho
w t
hat
yo
ur
char
acte
r is
ser
iou
s o
r sa
d).
Pac
e
Ch
angi
ng
the
spee
d w
ith
wh
ich
yo
u d
eliv
er y
ou
r lin
es t
o
com
mu
nic
ate
mea
nin
g to
yo
ur
aud
ien
ce (
e.g.
sp
eaki
ng
in a
ru
shed
, fas
t p
ace
to in
dic
ate
that
yo
ur
char
acte
r is
p
anic
ked
or
wo
rrie
d).
Pro
ject
ion
En
suri
ng
that
yo
ur
lines
can
be
hea
rd c
lear
ly b
y yo
ur
aud
ien
ce.
Du
olo
gue
A
scr
ipt
com
pri
sin
g tw
o c
har
acte
rs.
Pro
xem
ics
The
spac
e b
etw
een
ch
arac
ters
wh
ich
co
mm
un
icat
es
mea
nin
g an
d m
akes
it c
lear
to
th
e au
die
nce
ho
w t
he
char
acte
rs f
eel a
bo
ut
on
e an
oth
er (
e.g.
ch
arac
ters
st
and
ing
far
away
fro
m o
ne
ano
ther
an
d b
ack
to b
ack
cou
ld s
ugg
est
that
th
ey a
re a
ngr
y w
ith
on
e an
oth
er).
Stat
us
Ind
icat
ing
clea
rly
thro
ugh
th
e u
se o
f FB
VM
/lev
els,
th
e st
atu
s o
f yo
ur
char
acte
rs (
this
co
uld
be
you
r ch
arac
ter’
s so
cial
cla
ss
or
his
/her
sta
tus
in r
elat
ion
to
oth
ers
in y
ou
r sc
ene)
.
Still
im
age
A ‘s
nap
sho
t’ t
hat
cle
arly
co
mm
un
icat
es a
sto
ry.
An
eff
ecti
ve
still
imag
e sh
ou
ld m
ake
crea
tive
use
of
leve
ls
Tho
ugh
t Tr
ack
Wh
en a
ch
arac
ter
add
ress
ing
the
aud
ien
ce d
irec
tly,
bre
akin
g th
e ‘f
ou
rth
wal
l’ an
d r
evea
ls n
ew in
form
atio
n a
bo
ut
the
sto
ry/h
ow
he/
she
is f
eelin
g.
Gre
ek
The
atre
A
nci
ent
thea
tre
fro
m G
reec
e, 7
00
BC
.
Ch
ora
l sp
ee
ch
A g
rou
p o
f ac
tors
sp
eaki
ng
at t
he
sam
e ti
me.
Ch
ora
l m
ove
me
nt
A g
rou
p o
f ac
tors
mo
vin
g at
th
e sa
me
tim
e.
Trag
ed
y A
sty
le o
f d
ram
a th
at is
bas
ed o
n s
uff
erin
g o
r sa
d e
ven
ts.
Co
me
dy
A s
tyle
of
dra
ma
that
is b
ased
on
fu
nn
y an
d li
ght-
hea
rted
ev
ents
an
d e
xagg
erat
ed c
har
acte
rs.
Gre
ek
Ch
oru
s A
gro
up
of
acto
rs p
erfo
rmin
g to
geth
er in
a p
iece
of
Gre
ek
thea
tre.
Exag
gera
tio
n
Mak
ing
you
r u
se o
f FB
VM
‘lar
ger
than
life
’.
Ense
mb
le
A g
rou
p o
f ac
tors
per
form
ing
toge
ther
.
Emp
ath
y ‘P
utt
ing
you
rsel
f in
so
meo
ne
else
's s
ho
es’ a
nd
rec
ogn
isin
g h
ow
th
ey m
igh
t fe
el in
a c
erta
in s
itu
atio
n.
Mo
no
logu
e
A s
pee
ch d
eliv
ered
by
on
e ch
arac
ter
in f
irst
per
son
p
ersp
ecti
ve,
to t
he
aud
ien
ce.
Stim
ulu
s So
met
hin
g th
at in
spir
es u
s/gi
ves
us
idea
s in
dra
ma
(mu
sic/
sto
ry/a
ph
oto
grap
h/a
fee
ling
etc)
.
Ro
le o
n t
he
Wal
l A
pro
cess
wh
ich
hel
ps
us
un
der
stan
d o
ur
char
acte
rs m
ore
fu
lly a
nd
ho
w t
hey
fee
l/ar
e p
erce
ived
by
oth
er c
har
acte
rs.